These are cat-related creatures from European or from Classical mythology. At present they are:
Is a legendary creature with the body, tail, andback legs of a lion; the head and wings of an eagle; and an eagle's talons as its front feet. Because the lion was traditionally considered the king of the beasts and the eagle the king of birds, the griffin was thought to be an especially powerful and majestic creature. The griffin was also thought of as king of all creatures. Griffins are known for guarding treasure and priceless possessions. In legend, griffins not only mated for life, but if either partner died, then the other would continue the rest of its life alone, never to search for a new mate.
There is evidence of representations of griffins in Ancient Iranian and Ancient Egyptian art dating back to before 3000 BC. In Iran, griffins appeared oncylinder seals from Susa as early as 3000 BC. Griffin depictions appear in the Levant,Syria, and Anatolia in the Middle Bronze Age, dated at about 1950-1550 BC. Early depictions of griffins in Ancient Greek art are found in the 15th century BC frescoes in theThrone Room of the Bronze Age Palace ofKnossos, as restored by Sir Arthur Evans. It continued being a favored decorative theme in Archaic and Classical Greek art. In the Achaemenid Persian Empire they considered the griffin "a protector from evil, witchcraft and secret slander".
Being a union of a terrestrial beast and an aerial bird, it was seen inChristendom to be a symbol of Jesus, who was both human and divine. As such it can be found sculpted on some churches. When it emerged as a major seafaring powerin the Middle Ages and Renaissance, griffins commenced to be depicted as part of theRepublic of Genoa's coat of arms, rearing at the sides of the shield bearing the Cross of St. George.
In heraldry, the griffin's amalgamation of lion and eagle gains in courage and boldness, and it is always drawn to powerful fierce monsters. It is used to denote strength and military courage and leadership. In British heraldry, a male griffin is shown without wings, its body covered in tufts of formidable spikes, with a short tusk emerging from the forehead, as for a unicorn. The female griffin with wings is more commonly used.
Ethnologist Ivar Lissner theorized that cave paintings of beings combining human and animal features were not physical representations of mythical hybrids, but were instead attempts to depict shamans in the process of acquiring the mental and spiritual attributes of various beasts or power animals.
The Sphinx is said to have guarded the entrance to the Greek city of Thebes, and to have asked a riddle of travellers to allow them passage. In contrast to the sphinx in Egypt, Mesopotamia, and Greece, where the traditions largely have been lost due to the discontinuity of the civilization, the traditions of the "Asian sphinx" are very much alive today. The Indian conception of a sphinx that comes closest to the classic Greek idea is in the concept of the Sharabha, a mythical creature, part lion, part man and part bird, and the form of Sharabha that god Shiva took on to counter Narasimha's violence.
In art, the Sphinx underwent a revival from the late15th.century on. Sphinxes were included in the decoration of the loggia of the Vatican Palace by the workshop ofRaphael (1515–20), which updated the vocabulary of the Roman grottesche.
The first appearances of sphinxes in French art are in the School of Fontainebleau in the 1520s and 1530s and she continues into theLate Baroque style of the French Régence(1715–1723). In England Sphinxes are a feature of the neoclassicalinterior decorations of Robert Adam and his followers, The sphinx image also has been adopted intoMasonic architecture. As a Masonic emblem, the sphinx has been adopted in its Egyptian character as a symbol of mystery, and as such often is found as a decoration sculptured in front of Masonic temples, or engraved at the head of Masonic documents.
The oldest known sphinx was found near Gobekli Tepe at another site,Nevali Çori, or possibly 120 miles to the east at Kortik Tepe, Turkey, and was dated to 9,500 BCE.
In Germanic mythology, a dwarf is a small humanoid that dwells in mountains and in the earth, and is variously associated with wisdom, smithing, mining, and crafting.
The modern English noun dwarf descends from the Old English dweorg. The doorways in the mountains that they guard may be regarded as doors between worlds. In the early Norse sources, there is no mention of their being short. Very few beings explicitly identifiable as dwarfs appear in the Poetic Edda and Prose Edda and have quite diverse roles: murderous creators who create the mead of poetry, 'reluctant donors' of important artifacts with magical qualities, or sexual predators who lust after goddesses.
Anatoly Liberman suggests that dwarfs may have originally been thought of as lesser supernatural beings, which became literal smallness after Christianization. Latte Motz theorized that the Germanic dwarfs, particularly as smiths and gatekeepers, constituted a reminiscence of the Megalithic culture in Northern Europe.
Faeries & Pixies.